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Defining Digital Humanities Defining Digital Humanities © Copyrighted Material ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com © Copyrighted Material © Copyrighted Material Anthony, Edward and Fergusson, Clara and Joey, For Wonne and Senne and ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com © Copyrighted Material © Copyrighted Material Defining Digital Humanities A Reader Edited by MelissA TeRRAs ashgate.com JuliAnne nyHAn eDwARD VAnHouTTe ashgate.com ashgate.com hgate.com as ashgate.com ashgate.com © Copyrighted Material © Copyrighted Material © Melissa Terras, Julianne nyhan, edward Vanhoutte and all individual authors 2013 All rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Melissa Terras, Julianne nyhan and edward Vanhoutte have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing limited Ashgate Publishing Company wey Court east 110 Cherry street union Road Suite 3-1 Farnham Burlington, VT 05401-3818ashgate.com surrey, Gu9 7PT USA england www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British library The Library of Congress has cataloged the printed edition as follows: Defining digital humanities : a reader / [edited] by Melissa Terras, Julianne nyhan, and edward Vanhoutte. pages cm includes bibliographical references and index. isBn 978-1-4094-6962-9 (hardback)ashgate.com – isBn 978-1-4094-6963-6ashgate.com (pbk) – isBn 978-1-4094-6964-3 (epub) 1. Humanities–Data processing. 2. Humanities–Research–Data processing. 3. information storage and retrieval systems–Humanities. 4. Humanities–electronic information resources. i. Terras, Melissa M. ii. nyhan,hgate.com Julianne. iii. Vanhoutte, edward. as AZ105.D44 2013 001.30285–dc23 2013020285 isBn 9781409469629 (hbk) isBn 9781409469636ashgate.com (pbk) isBn 9781409469643 (ebk – PDF) isBn 9781409469650 (ebk – ePuB) ashgate.com Printed in the united Kingdom by Henry ling limited, at the Dorset Press, Dorchester, DT1 1HD © Copyrighted Material © Copyrighted Material CHAPTeR 6 The Gates of Hell: History and Definition of Digital | Humanities | Computing1 Edward Vanhoutte ashgate.com Royal Academy of Dutch Language & Literature ashgate.com 1. A Metaphor in 1879, edmund Terquet (1836–1914), the French secretary of state for Fine Arts, commissioned a monumental door from the sculptor Auguste Rodin (1840–1917). Rodin’s door would be used as the entrance to the planned Decorative Arts Museum in Paris. The artist was given three years to complete it, but the museum project started to go wrong, and the state cancelled it in 1889. in the meantime, the door had lost its original setting and function and Rodin, freed from the restrictions of designing a functional piece of art, explored the creativeashgate.com possibilities ashgate.com of the surface and created a sculpture which he would constantly revisit until his death. The sculpture, which is on exhibition at the Rodin Museum in Paris,2 is unmistakingly a door, with its two leaves, sideparts, and tympanum. And yet, the door doesn’t open. There is no opening mechanism and, even if there were one, the more than 200 figuresashgate.com and groups on the door are too entangled and prevent any movement of the leaves. Rodin called his sculpture La Porte de l’Enfer or The Gates of Hell, since his original inspiration was the then very popular theme of Dante’s La Divina Commedia. when i was watching the documentary ‘A season in Hell. Rodin’s 3 Gate’, it struckashgate.com me that the story of Rodin’s sculpture could be used as a metaphor for the field of Humanities Computing.4 By ‘Humanities 1 This essay is for Ron Van den Branden: Sine te... 2 http://www.musee-rodin.fr/fr/collections/sculptures/la-porte-de-lenfer [accessed 12 January 2013]. ashgate.com 3 http://www.canal-educatif.fr/en/videos/art/2/rodin/gates-of-hell.html [accessed 12 January 2013]. 4 Throughout this essay, Humanities Computing with capitalization refers to the field and humanities computing without capitalization refers to the activity of computing in and © Copyrighted Material 120 DeFininG DiGital HuMAniTies © Copyrighted Material Computing’ i mean the practice of using computing for and in the humanities5 from the early 1950s to 2004 when ‘Digital Humanities’ became the prominent name for the field. Just as Rodin’s ‘door’, Humanities Computing consisted of two clearly separated leaves with their own history and understanding behind them but, when put together, they became so heavily interlinked that they could not be separated without any loss of meaning. Humanities Computing was neither a traditional humanities nor a computing subject. That’s why, in the course of time, the self-reflective question what constitutes andashgate.com defines Humanities Computing has in itself become a research theme. However, the main reason why Rodin’s Gates of Hell is such a good metaphor for Humanities Computing is that it is the creative result of failure. The failure on the part of the French government to build the Decorative Arts Museum in Paris freed Rodin’s design from the functional restrictions, and paved the way for an almost exuberantashgate.com creation. likewise, Humanities Computing is the creative result of failure on the part of the manufacturers of early computers to produce operational machines in time to be used during the second world war (or, one can argue, of failure on the part of the allied forces to make the war last longer). 2. Failure Probably the first mention of the application of computing to the Arts is found in the notes to the translationashgate.com ofashgate.com luigi Federico Menabrea’s (1809–1896) Notions sur la machine analytique de Charles Babbage (1842)6 – translated in 1943 as Sketch of the analytical engine invented by Charles Babbage7 (Menabrea, 1961 [1843]; lovelace, 1961 [1843]) by Augusta Ada, Countess of lovelace (1815–1852).8 with the poet lord Byron (1788–1824)ashgate.com as her father and the mathematician Anabella Milbanke (1792–1860) as her mother, Ada lovelace, as she is more frequently called, may well be considered the personification of the humanities computing educational idea. Meditating upon the possible uses ashgate.com for the humanities. 5 By computing for the humanities, i mean the instrumental use of computing for the sake of the humanities. By computing in the humanities, i mean the meaning-generating activity of Humanities Computing. 6 Originally published in the Bibliothèque Universelle de Genève, 82 (october 1842). ashgate.com7 These Notes were published separately in Scientific Memoirs, Selections from The Transactions of Foreign Academies and Learned Societies and from Foreign Journals, edited by Richard Taylor in 1843. 8 See Toole (1996 and 1998) for biographical notes and comments on her work. © Copyrighted Material THe Gates oF Hell 121 © Copyrighted Material of Babbage’s Analytical engine9 for non-numerical purposes, she wrote that the operating mechanism: might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine. supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, ashgate.com the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent. (lovelace, 1961 [1843], pp. 248–9) However, the first computer music wasn’t produced before CsiRAC,10 Australia’s first digital computer, was used to perform the Colonel Bogey March in 1950 or 1951, and electronic computer musicashgate.com boomed from 1957 onwards with the release of the first program for sound generation, appropriately called MusiC.11 Moreover, the submission of musicologist papers to the journal Computers and the Humanities in the 1960s and 1970s is substantial. But lovelace was right in her observation that computing techniques and devices could have their use in non-numerical applications as well. This was especially realized after the end of the second world war. in 1943 the us military12 commissioned the building of the eniAC (electronic numerical integrator And Computer) to calculate trajectories of world war ii artillery guns, a ashgate.comtask that involvedashgate.com repetitive sequences of operations on complex mathematical data. The two leading architects of this giant electronic digital calculator were J. Presper eckert (1919–1995)13 and John Mauchly (1907–1980)14 of the university of Pennsylvania’s Moore school of electrical engineering. Before the eniAC, these operations had been executed with theashgate.com use of differential analysers, desk calculators, and punched-card installations, consisting of several serialized punched-card machines (Polachek, 1997), a market dominated by iBM at that time. 9 Babbage’s Analytical engine was a proposed programmable mechanical calculator with a plannedashgate.com memory of 1,000 numbers of 50 digits. it used punched cards for the input of instructions, the input and output of data, and the storage of data and instructions. 10 CsiRAC: Council
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